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<!--StartFragment--> <div class="MsoNormal">A clear example of the I--II--IV--I chord pattern can be found in Rod Stewart’s “Stay With Me” (the main part of the song, after the intro).<span style="mso-spacerun: yes"> </span>The pattern is easily played with barre chords with bass notes on only the 5th and 7th frets, very comfortably within a box on the fretboard, although it lacks a pentatonic sound:</div> <div class="MsoNormal"> <o:p></o:p></div> <!--StartFragment--> <div class="MsoNormal"><span style="font-family:Courier">Stay with Me<o:p></o:p></span></div> <div class="MsoNormal"><span style="font-family:Courier"><span style="mso-spacerun: yes"> </span>A<span style="mso-spacerun: yes"> </span>B<span style="mso-spacerun: yes"> </span>D<span style="mso-spacerun: yes"> </span>A<o:p></o:p></span></div> <div class="MsoNormal"><span style="font-family:Courier">A--------5-----<o:p></o:p></span></div> <div class="MsoNormal"><span style="font-family:Courier">E--5--7-----5--<o:p></o:p></span></div> <!--EndFragment--> <div class="MsoNormal"> </div><div class="MsoNormal"><o:p></o:p></div> <div class="MsoNormal">The Donovan example is quite different to my ear in that you do get the dominant chord immediately after the three chords in question: C--D--F--C--G.<span style="mso-spacerun: yes"> </span>This pattern could still fits neatly in the fretboard box, using two diagonal moves between the A and E string:</div> <div class="MsoNormal"> <o:p></o:p></div> <!--StartFragment--> <div class="MsoNormal"><span style="font-family:Courier">Atlantis (transposed to A)<o:p></o:p></span></div> <div class="MsoNormal"><span style="font-family:Courier"><span style="mso-spacerun: yes"> </span>A<span style="mso-spacerun: yes"> </span>B<span style="mso-spacerun: yes"> </span>D<span style="mso-spacerun: yes"> </span>A<span style="mso-spacerun: yes"> </span>E<o:p></o:p></span></div> <div class="MsoNormal"><span style="font-family:Courier">A--------5-----7--<o:p></o:p></span></div> <div class="MsoNormal"><span style="font-family:Courier">E--5--7-----5-----<o:p></o:p></span></div> <!--EndFragment--> <div class="MsoNormal"> </div><div class="MsoNormal"><o:p></o:p></div> <div class="MsoNormal">But Donavan doesn't play it that way. It's more folksy voicing, with F maj7 on the third chord. On the YouTube video, he is using a capo and who knows what all is going on.<o:p></o:p></div><div class="MsoNormal"><br></div><div class="MsoNormal">Tim Koozin</div> <!--EndFragment--> <div><div><br></div><div><br></div><div>On Aug 30, 2009, at 8:30 PM, Nicole Biamonte wrote:</div><br class="Apple-interchange-newline"><blockquote type="cite"><div class="gmail_quote"> <blockquote class="gmail_quote" style="PADDING-LEFT: 1ex; MARGIN: 0px 0px 0px 0.8ex; BORDER-LEFT: #ccc 1px solid">Dmitri wrote:<br>BTW, I wouldn't be totally shocked to find I-II-IV in some kind of New Orleans jazz context. I can almost hear it in my mind's ear, can you? </blockquote> <div> </div> <div>I think you could probably find a I-II-IV-V turnaround fairly easily, but I'm skeptical of I-II-IV on its own in that repertoire. I don't know an earlier example than "Eight Days a Week." I also can't find a good example of bVII-I-bIII; does anyone have one? </div> <div> </div> <div>I think I-II-IV belongs to a family of 025-based pentatonic-triad progressions like the blues "axe-fall" (IV-bIII-I), the "Green Onions" riff (I-bIII-IV), and similar dominant-based versions (I-bVII-V and V-bVII-I).</div> <div> </div> <div>Since the original poster asked about sources, I'll note that Allan Moore briefly discusses this progression in "Patterns of Harmony," <em>Popular Music 11/1 </em>(1992). He interprets it as a third-substitution for I-bVII-IV.</div> <div> </div> <div>Nicole Biamonte</div> <div>Assistant Professor of Music Theory</div> <div>University of Iowa</div></div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">_______________________________________________</div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Smt-talk mailing list</div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><a href="mailto:Smt-talk@societymusictheory.org">Smt-talk@societymusictheory.org</a></div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><a href="http://lists.societymusictheory.org/listinfo.cgi/smt-talk-societymusictheory.org">http://lists.societymusictheory.org/listinfo.cgi/smt-talk-societymusictheory.org</a></div> </blockquote></div><br><div> <span class="Apple-style-span" style="font-size: 12px; "><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><br class="Apple-interchange-newline">Dr. Timothy Koozin <a href="mailto:tkoozin@uh.edu">tkoozin@uh.edu</a> (713)743-3318</div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Associate Professor and Coordinator of Music Theory</div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Moores School of Music</div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">University of Houston</div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">120 School of Music Bldg</div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Houston, TX 77204-4017</div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><br class="khtml-block-placeholder"></div><span class="Apple-style-span" style="border-collapse: separate; -webkit-border-horizontal-spacing: 0px; -webkit-border-vertical-spacing: 0px; color: rgb(0, 0, 0); font-family: Helvetica; font-size: 12px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; -webkit-text-decorations-in-effect: none; text-indent: 0px; -webkit-text-size-adjust: auto; text-transform: none; orphans: 2; white-space: normal; widows: 2; word-spacing: 0px; "></span></span><br class="Apple-interchange-newline"><br class="Apple-interchange-newline"> </div><br></body></html>